Old work.—Carefully remove all dirt and extraneous matter with the stopping knife and duster; those places near the eye should be rubbed with pumice stone, and greasy places should be well rubbed with turpentine. Bring forward new patches and decayed parts with a coat of priming; stop and make good with putty, then proceed with the first coat, or second colour, in turpentine. The quality of the next coat will depend upon the manner in which it is to be finished. If it is to be painted twice in oil, and flatted, the next coat, or third colour, should be mixed up chiefly in oil, and tinted like the finishing colour, to form a ground for the flatting. The greater the shine of the ground, the more dead will the finishing coat or flatting be ; likewise, the more dead the ground, the better will the finishing oil shine ; therefore, it is a general rule that for finishing in oil the under coat should be turpentine, and for finishing flat, the under coat, or ground colour, should be oil ; but observe, that all turpentine under coats have a little oil with them, and all oil under coats, except the priming or first coat on new work, have a little turpentine with them.
Knotting is made with red lead, carefully ground, and thinned with boiled oil and a littletine. For inside work, red lead, carefully ground in water, and mixed up size, is a good substitute, and is generally used : it must be used hot.
Printing for new work.—This is made of white lead with dryers, and a little zed lead to harden it, and further to assist its drying ; it is thinned entirely with oil, and should be made very thin, as the new wood, or plaster, sucks it in very fast. It is a frequent practice with painters to save the oil coats by giving the new work a coat of size, or size and water, with a little whiting, called clear cole; but where durability is consulted, this should not be done. The size stops the suction of the wood or plaster, but, at the same time, it prevents the oil paint from adhering to the work; the consequence is, that it is apt to peel or chip off, especially in damp places. Clearcole is sometimes advantageously used on old greasy work, on which oil paint would not dry.
Second for new work, or oil second colour.—This is white lead thinned with oil and a little turpentine, with suitable dryers. The proportion of dryers for ordinary cases is about one ounce and a half to ten pounds of white lead; but in winter, or under other unfavourable circumstances, the quantity of dryers must be increased.
Second colour for old work, or turpentine second colour.—This is white lead thinned with about three parts of turpentine, and one of oil, also a little dryers. Where much turpentine is used, less dryers is required.
Tavpentine colour.—This ie only used when the work is to be finished in oil ; that is, left shilling. It is thinned almost entirely with turpentine, that the finishing coat may have a better gloss.
Third, or ground colour, is thinned with two-thirds oil and one-third turpen tine, and tinted a shade darker than the finishing colour.
Finishing oil colour is thinned with a little more oil than turpentine, and tinted to the desired colour.
Flatting, or finishing turpentine colour, is thinned entirely with turpentine, and has no shine.
A bastard flat is thinned with turpentine and a little oil, which renders it more durable than the perfect flatting. To procure a good flat, it is necessary to have a perfectly even glossy ground, and it should be of the same tint, but a little darker than the finishing flat.
For dearcole and finish.—Stop defects with putty, clearcole, and finish with oil-finishing as directed.
For two coats ina.—Turpentine second colour, and finishing oil colour.
For two coats in oil slat. Turpentine second colour ; third colour, and flat.
For three coals in oil.—Turpentine second colour ; turpentine colour; and finishing oil colour.
For three coats in oil and fiat (old work).—Turpentine second colour ; turpen tine colour; third, or ground colour; and flatting.
For fotw coats in oil (new work).—Oil priming ; oil second colour ; turpen tine colour; and oil finishing colour.
For four coats in oil and flat (new work).—Oil priming ; oil second colour; turpentine colour ; third or ground colour ; and flatting.
Tinvr.n CoLouas.—Stone colour.—White lead, with a little burnt or raw umber, and yellow ochre.
Gray stone colour.—White lead, and a little black.
Drab.—White lead, with burnt umber and a little yellow ochre for a warm tint, and with raw umber and a little black for a green tint.
Pearl colour, or pearl grey.—White lead with black, and a little Prussian blue.
Sky blue.—White lead, with Prussian blue.
French grey.—White lead, with Prussian blue, and a little lake. These last, used in various proportions, will make purples and lilacs of all shades.
Fawn colour.—White lead, with stone ochre, and a little vermilion or burnt stone ochre.
lead and yellow ochre.
Cream colour.—Same as the last, with more white.
Lemon colour.—White lead, with chrome yellow.
Orange colour.—Orange lead, or chrome yellow and vermilion.
Peach colour.—White lead, with either vermilion, Indian red, purple brown, or burnt stone ochre.